Dance with Your Brush: Paint Expressive Watercolor Florals | Joly Poa | Skillshare

Dance with Your Brush: Paint Expressive Watercolor Florals

Joly Poa, Watercolor Artist

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22 Lessons (2h 22m)
    • 1. Introduction Video

      2:49
    • 2. Class Overview

      2:59
    • 3. Materials

      4:35
    • 4. Quill vs Round

      4:37
    • 5. How to Hold a Brush

      2:03
    • 6. What is a Quill Brush

      4:07
    • 7. Controlling Water

      3:22
    • 8. How to Mix Paint

      2:06
    • 9. Brush Stroke Drills

      7:53
    • 10. Petal Strokes Part 1

      11:23
    • 11. Petal Strokes Part 2

      10:18
    • 12. Fading Technique

      1:34
    • 13. Leaves Part 1

      3:58
    • 14. Leaves Part 2 Leafy Wreath

      11:22
    • 15. Delphinium

      10:08
    • 16. Dahlia

      8:23
    • 17. Class Project: Bright Florals Part 1

      10:37
    • 18. Class Project: Bright Florals Part 2

      12:20
    • 19. Expressive Pink Florals Part 1

      7:27
    • 20. Expressive Pink Floral Part 2

      9:09
    • 21. Bonus Video Flowers in a Vase

      9:03
    • 22. Final Thoughts

      1:48
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About This Class

One of my favorite brushes to use for expressive watercolor florals is a quill brush. I love how it follows my hand gestures and how it creates unique strokes for painting flowers. It may be an intimidating brush for beginners but in this class, I will guide you step by step on how to use this brush and unlock your creativity.

Here are the topics that we will cover: 

  • Materials
  • Definition of Quill Brush
  • Difference Between Quill and Round Brush
  • How to Control Water
  • How to Mix Paint
  • How to Hold a Brush
  • Brush Stroke Drills¬†
  • Petal Strokes
  • Leaf Strokes and Leafy Wreath
  • Delphinium
  • Dahlia
  • Expressive Pink Flowers
  • Bright Floral Arrangement
  • BONUS: Flowers in a Vase

This class is packed with a lot of exercises! All the videos were filmed in real time so you can paint along with me. At the end of the class, you will be able 4 different projects. The class is suitable for beginners or seasoned artists who want to explore using a quill brush.

I believe that each one of us has a unique way of painting and this class will guide in exploring different strokes and help you interpret expressive florals in your own unique way.

Happy Painting!

Transcripts

1. Introduction Video: one of my favorite brushes that I used to paint expressive flora's if they will brush. I love the feeling of being in control of my brush strokes and I would sway the brush. I would flick the rush or the different types of pressure on my stroke. So it's like dancing with my brush. The soft bristles off the brush. Allow it to follow my hand gestures. It may be a going thing or intimidating brush for beginners, but I will be there to guide you step by step on how to use this brush and the locker creativity joined today s he learned how to paint expressive what color florals is Johnny and I mean what their color artist based in the Philippines and also not asked valuable on instagram. I started as a beginner with no knowledge about more than color, but with a lot of practice and upgraded self. The materials I saw a huge improvement in my paintings to be I'm so excited for you to learn some brush stroke drills that will help you develop muscle memory in your hand and help you understand the full potential of using a code brush. We will discuss how to hold a brush, how to control the water in your brush and the differences between a quill brush and a round brush. You also may paint these only strokes that you will turn into a beautiful re through paid, expressive Lawrence. We will first learn how to paint some peple strokes, and after learning all the skills that we need, we're going through proceed by painting for different projects. The videos were all filmed in real time so you can follow along as I paint This guy's will guide you in exploring different strokes and help you interpret expressing florals in your own way. So let's 2. Class Overview: hello again. And so this is the class overview and want three money. Guys, don't skip them with their house part because I will be discussing the materials that I will be using this class and also the colors that I use for thes paintings right here. And also we have a lot off brushstroke bills. So just prepared the paper because you will be practicing a lot. And, um, I wanted to share with you guys. Dad, when I was something out, I really practiced a lot. And I use a lot of paper, and sometimes it feels as if you're wasting paper. But then you're actually really not, because if you don't practice, then nothing really will happen and you won't improve. So I do suggest that you practice all the drills and try to follow along as I paint. And I've also included some photos off the pain things so that you can try to print it out or save it in your tablets as a reference for you when you're painting. So as a bonus review, I'm also going to teach you how to paint this one. It's flowers in a very so just to give you an overview off the projects. So let's start with the fury right here. So we're going to paint some leaves instead. Off painting leaves that one by one. I thought off painting them in a circle so we can actually create a Reese asked me practice and then let's go to this flower painting. So right here we're going to use on artificial flower as a reference and going to issue how you can translate that into a painting. And then we also have a value right here. And I took a photo off so flowers and I was sensing a born, and I used one of those for those as a reference. So we are also going to paint that paint the area in the photo. It just translate that into water color. And and then right here we have some dopey new and you're just going to practice some pedal strokes and get your hand quite news. So I'm really excited about you trying this one out because it's very easy. And last Levy also have this bright floral arrangement and right here and going to mix different flowers and let you try a laurel. Okay, so I won't keep you 18. Let's get started 3. Materials: All right, let's talk about materials, and I'm going to start with a paper and the brand, and I'm going to use a Saunders's weather for its 100% cotton paper, and the thickness is 300 GSM. I suggest you saying this type of thickness, or that your paper wouldn't get wrinkly when you're using a lot off water, and you're also going to use cold press paper, which is really good for loose floor else because it has, ah, good texture. Um, if you have seen hot pressed paper in the in our stores, well, you can use that if you paint some realistic for us, because the texture off hot press paper is really smooth. And if you're going to pay loose for a while, it won't look good in that paper. Also, this is, ah, block style off watercolor paper, so she couldn't see all the sides are glued except for this part, because that's how you will take out the paper and the reason for this being glued on all sides. ISS because you don't want the paper to get that Brinkley, for example, your painting landscapes are your painting those florals with a lot of water. You don't want your paper toe warp, so that will keep your paper in place. However, papers can be off course expensive and one way to save up on paper as to buy a large sheet off paper instead of buying a block like this so you can buy one large sheets and perhaps just cut it into smaller pieces just like this. Next up, let's talk about brushes. So in this class we're going to use the brush called a mop brush or also called a quill brush. And you're going to use the brand called Rafael and in the series 803 and decides that I'm going to use ISS size 30 Um, and I'm sure you now the other mop Russia's that they have, and you'll just cost them separately in a different video. And in order to assist us in some of the paintings, I am also going to use this black velvet brush in size six, so this is a round brush and not a mop brush, but understand that some of you might not have a mop brush so on alternative to e size freezer mop brush is Theis silver brush Black velvet in size eight and this is a round brush for the pain. I am using the machine hand PwC, and this is a Korean brand that ISS on artist grade watercolor pain. They come and tubes, and I just creased them out in this small half pants, and I put this in a metal tin, and then you'll need a mixing palette, so this is just the lid off my metal 10. But alternatively, you can use a ceramic palette or even just unordinary ceramic plates to be used as you're mixing planet. So here the colors that you're going to use in this class, I'm going to use permanent yellow light permanent rose Crimson Lake Sap Green Hooker's green Brandt Sienna sepia in Diggle. Well about blue, cerulean blue, ultra marine and permanent violet. But of course, you can use any color that you like. I'm just giving you a rough guide off the colors that you will be using in this class. He also need a tissue paper to block out excess water an hour brush. Lastly, last, prepare a jar off clean water 4. Quill vs Round: So now let's talk about the quill barrage versus the round brush. So this is the rough. Well, size 30 So let's talk about the shape first. This iss the shape off the brush. Yes, you can see you have Ah, fat bend you over here. Any tapers down right up to this tip right here. And you can clearly see, like, the curve from here, going to this part. I'm going to show you now a typical round brush. So this is the Princeton heritage, so we can clear. You see the difference in the shape off the brush us. You can see right here. Um, this portion right here looks a bit father. And this one right here looks thinner or more occurred. And let me get another one. This is the Neptune series, and this Neptune's Erice mimics a Skrill hairbrush. So it also has a big belly. But when you look at the tip, it's also different. And it looks rounder compared to a mop brush. And I feel like this round brush is the closest to a mop brush. This is the black velvet. It's a mixed off Skrill hair and synthetic hair. So I'm gonna put it side by side so you can see it. Okay, so they do look similar. So I guess if you're not ready to use this mop brush, you can try using the black velvet first. But I would suggest trying out this will brush because it will really give you a different experience. And I feel like it just gives more expressive strokes. Now in comes through the painting. Experienced disk will brush. Um, it just follows your hand gestures so it follows the way your hand moves and like what I always say, you just dance with your brush, and this brush really follows your hand and there's no resistance. Every time you paint, there's no bounds because this brush is very soft. Um, I supposed to using a, um, unordinary round brush. Um, it gives you this room brush gives you more control, and you get more perfect looking strokes. So this is also good for beginners. But if you want to try a more expressive stroke, I would suggest, um, you sing a quill brush, so let me just show you what it looks like when the stamp this brush on the paper. Okay? So you get the pointy tip and this is the Neptune. Okay? And then that's use. Okay, so now you'll notice that the quill brush has because more slender, um, tip, it's also it's pointier. And it's thinner on these two sides compared to round brushes. When, where? In the tip ISS arounder. So this is just a comparison just to show you guys the difference. So I hope that this video was able to enlighten your regarding the differences between a quill brush and a round brush. At the end of the day. Do you see a brush will be different for everybody. 5. How to Hold a Brush: So now let's talk about how to hold a brush. And I've talked about this in my previous sculpture class. This is This was for my first class called From Blobs to Blooms. And you hold it like a pen just like this. So you should eat. You can start with holding a brush, right? Um, here in the middle. So just hold it comfortably like this. And if you are going to paint something, um, with, like, really small details and you need to focus, you can hold it quite near the bristles. And I know that some of you might be worried because there's a wire over here, and it does hurt if you rest that portion on your finger. So what I do is that I never let this part risk on my finger like this. So make sure that this part like breezes, I'm kind of faces up towards or away from the finger so that it doesn't hurt. And then if you want to paint something quite loose, just hold the brush at the end right here, so that you can really move. And if you want to be in some expressive strokes, I do suggest that you don't grip your brush with too much pressure like this. So you just hold it loosely but not lose enough. The federal fall off from your hand. Just lose enough so that you can just dance with your brush and move along the paper. 6. What is a Quill Brush: So what is a quill brush? One of the characteristics awfully cool brushes that the bristles are held by this plastic , and it is found by wire and that keeps it in place. And another characteristic off a mop brush is that it has a big belly, so it means that it can hold a lot off water. But at the same time, it can keep a very pointy tip when it comes through the sizes. The smallest size that I have seen it is the size 30 the next size that speaker is 20 then you have zero and so on. So the bigger the number, the larger the brush is. And don't worry if your quill brush looks like this. It's not really pointy when it's dry, so it just looks fluffy. But when the brush iss with it will look like this. So for beginners, I do recommend using the size 30 so that it's not overwhelming because the bigger sizes will also hold a lot of water. And sometimes as a beginner, it's difficult to control the water. So I would suggest using the small size furs and then when you're comfortable with that you can move on to a bigger Seiss. So with a quill brush, you can do some, um, washes. Make this. We'll be able to Kovar a big area because this quill brush can hold a lot off water. Or you can also, um, create some fine lines and create some expressive strokes. And this kind off reminds me off you seeing a Chinese brush for Chinese painting. So the branded I'm using is the Raphael Bran, and this is the Siris 803 amusing. Also the kill brush where the squirrel hair bristles so you can also find Kolinsky. But I like using Skrill hair because it's very solved, and it's really good for Loose Flora's. But I know that some off you might not want to use animal hair so on. Alternative would be to use synthetic once, and I have found this is just the DaVinci Casa Nao, and this is synthetic synthetic bristles is that it doesn't work like, um, squirrel hair for the course. It's only similar. It's not exactly the same, but essentially you guys some options, and just in case you want to use this so another, um brand that makes synthetic, um, quill brushes ISS, the Princeton Knapton lying. And this is a very big, um, quill brush this ISS size six. So it's against you. This a size zero and decides six. And the smallest size that they use is actually a size four. So I hope that they can make smaller sizes in the future. But it's also got it holds a lot off water, and it also keeps its point, which is really good. All right, so now let's move on to another video where, and you will talk about the difference between the mop brush and a regular round brush. 7. Controlling Water: in this video, we're going to talk about how to control the water in your brush. So that's tried dipping our brush in this water jar. I'm going to show you what it looks like if there's just a lot of water in your brush and this seems to be one of the problems off beginners, I'm gonna left my brush and it's tried to just, um, see what it looks like up close. So as you can see, it's just full off water and it's just swelling. And it doesn't have a point anymore because there's just too much what they're. So we can just try to tap un decide off the jar and that see if there is a new improvement . OK, so it seems like you've got a point great there, so we can actually use this brush to get some pain. Or you can also tried to tap it. One more to get out the excess water. Okay, so, no, there's that you still have that belly. It still has a lot of water, but you can keep a good sharp point. So what does it look like if you don't have enough water? So let me just intentionally dab the excess. What? They're so yes, you can see if there's not enough water, it will be very difficult to paint with this brush. And you can also bend it like this. So that means that you don't have enough our mortar in your brush if you can benefit like this and it doesn't come back. So I also wanted to show you guys what it looks like if you have, like, a lot of fourth day in your brush. So we will most likely be creating a puddle just like this. God, a puddle right here because you had a lot off pain. But if you top the excess paint, you get a more even wash. But if the feet brush is too dry, it will look like this. I'm going to intentionally the, um, just blood excess. So you will see that the brush is very dry and you get all those white spots that you were not able to cover with your paint. And also your brush will look like this 8. How to Mix Paint : and in this video we're going to learn how to makes your paint and water. So I'm just going to rinse my brush and just tap the excess water on the rim off the jar and it's grab some permanent grows and just switch it on the palate. I'm making sure that I have makes the water and paint properly. So as you can see, it's quite a thick and pigmented paint, and I have quoted my brush with the paint. Now it's just tried to swatch it, and you will notice that if you loaded your brush properly you will get a nice wash. So as you can see, it's a very pigmented mixture. Let's introduce more water to our brush just to lighten the color, because in weather color we don't really add white To change the value, we can add some water to create a lighter value. So as you can see here, this is now I lighter pink. That's a light, her permanent rules. And let's dip our brush one more time in the jar and you'll get a very soft pink color. Okay, so I'm going to teach you another trick. Um, sometimes you'll see a Pado like that in your pain thing. So don't leave that try to absorb that excess water. So I am just going to Reince my brush and just blood the excess water in my brush on tissue paper and I will lightly touch that puddle. So what I'm doing is I'm absorbing the extra water on the paper. You seeing this brush? And there you go. You're done. 9. Brush Stroke Drills: in this section. We are going to do some brushstroke drills, and this will help you lose up your hand and also help you get to know more about your brush and the breast drugs that you can go using this quill brush. I just put here some tapes, but you can definitely just draw some squares on your paper. We are going to start by painting some sin strokes over here with his life pressure. Then let's just grab some paint. He was any color that you want to paint somethin. Strokes or thin lines. Um, he can put your brush up in an upright position, and you can also use your pinky to help you balance your hands so that your hand would get a little wobbly. Let's start so only the tip off the brush is touching the paper, so you're going to do paid a straight line. We just you're just practicing the pressure that we put on this rush. So we want to start with a light pressure, and when you put light pressure on the brush, you can create 10 strokes. Okay, so in this square, I want you to put a little bit more pressure. So we are just practicing these strokes to help you understand the strokes that you can do . I'm going to paint thicker strokes, and I'm just gliding my hand on the paper and just dragging my brush across this clear. Okay, so now let's paint another set in. This time, it's add more pressure. There should be thicker than the 2nd 1 that we did. So this is the last square, and they want you to press your brush for the on the papers because we can t eight a broad stroke. So just press it and just drug so you'll know this that you're bristles will also bomb spread as you press your brush onto the paper. All right, good job. Well, now you can see that when you apply more pressure, they're brushing and creating broader stroke, and then you apply a real life pressure. You can create Merry San Strokes. Let's now move on to another drill. And this is something that I told Amy first class from blobs to blooms. But you're going to do it again now as a year refresher. So you're going to pay in the stand and thick line so in one stroke were going toe. Vary the pressure. It's kind off like painting a leaf. So you start with a light pressure and then just slowly press and drag and then this, then slowly press, then drag and then live so in one stroke again, a scene there apart in a sicker area. Okay, so now let's do it again, and I will paint it a little bit faster this time. Okay, so this is just a fun way to understand your brush and how it just spreads when you press it on the paper. So let's try another one where, and I'm going to paint a thin stroke when I'm going up boards. But when I'm painting Don Wars and going to paint a secret line, so and then going up wash and going to paint a say in line. Then as I go downwards, I will slowly pressed the tip off my brush to create a broader stroke. It's tried one more time so she can't see. It's only this area that kind of flattens when they press it. This is also a good way to practice some brush lettering if you're into that. Okay, so you're done with this exercise and one way to losing up with holding a mop brush is to do this style, which I called the fringe. So I am just going to tell my brush and just move in this manner. So only the tip off my brought is going to touch the paper so that I can create somethin strokes. So this is actually a really fun drill. And don't be too pressured about making it perfect. We are really just doing this as an exercise and just to loosen up, think off it as a warm up exercise. I don't really need to fill in like the entire page. All right, so you're done with our brushstroke drills. Let's move on to painting some pedal strokes. 10. Petal Strokes Part 1: let's start painting some brushstrokes that will help us and painting some expressive Norell. So let's start with Ah, very thin ceased rule. I have pain in my brush. Let's start with a light pressure and then you're going to slowly press our brush. And the only part that will move is just up to here. She can see that it's kind of bending, so let's try it. So start played a light pressure and then press and then the slowing if it and I know that this you look funny and not makes any sense at all right now. But trust me, this is a good exercise, okay? And then you can also do that up boards. You start with a live pressure, almost like you're painting a line. Then just press the job, then lift so we can always just attach a tale. Let's try it again. So this exercise is also applicable to painting like an outline off arose. So I'm just going to quickly show you so we can pay something that God diamond shape. Ask the center and then going to paint the strokes that we did here, and I'm going to paint all around so he can also throw in your paper so that it's the ankle is easier for you. So I'm just going to slowly build the petals. And this is also gonna be part off on intermediate class that I will release after this basic class. So it's nice to get to know this stroke us? Yes. Now. So I'm just going toe alter Need the pet those she can see in one stroke. I can do variety off pressures so you can see that some will be sitting there like here, and then it can go a little thick over here and then spin again. So that will make your strokes quite expressive if he can vary the pressure. So I'm just lonely fitting in some off the white spaces. Okay, so I see that we are done and you can add just a stem were here. Okay, so now let's try stamping with over brush. So I have some paint on my brush, and I am just going to press it on the paper to create a mark. So by doing this, I can create a pointy tip and then I have a round shape right here, So let's try to paint a simple flower. You seen this mark? So with just a very simple stroke, you contractually create a flower. This can be a filler in your book, OK? And then you can just add sums them. And you can also paint some leaves just using they stroke. This tried that out now, so they speak a stem and just press our brush. And it's easier if you can just rotate your paper. There you go. It's a very simple mark, and yet you can create so many things out of that simple mark. And of course, you can always go back and fix some off the strokes. So another variation is to try to sway your brush and you can hold it right here at the tip . So instead, off just stamping like this, you're going to try to sway you can, sweet to the right, Or did they live? And then you can also create a flower doesn imaginary, um, flower by combining all of the's strokes. So just have fun and just build. Just build more petals. Okay, then you can of course, just put this them, um this is just saw an exercise for us. And of course, you can also pain different colors on this flowers so that it doesn't look flat. But for this exercise, we just did one color Call it so it gives Edie, it's that easy. I just need to data your brush and just sway your brush and change the angles. Okay, so let's paint some more. See strokes so we can try painting with the life fresher and then just suppress it. You can see that I am flicking at the end. Let's do it again and then just click. He doesn't have to look perfect. So it's OK, so if you have some imperfections night here, you're just going to practice. You can also move upwards, and then let's try to paint on the other side, then up four. So you will be able to create different strokes. And this is really nice because you can create a flower from this exercise, and they they're all you're going to paint a dolphin oum using these drugs, they're gonna start right here and just press then live. And this will be the center. Okay. And then this pain in leather one. I didn't, sweetie. Your brush and you just have fine painting. Then you can also add potatoes if it feels like it needs more petals. So don't worry about the shape. For now, this is just an exercise. And we'll do more exercises later for this type off stroke. Oh! 11. Petal Strokes Part 2: I'm going to show you a painting off a dahlia. Ah, As you can see, I painted some wispy strokes like this. So this tried it out. We are just going to buy the pressure in one single stroll. So start with the light pressure and then press and drag your stroke crests and drag. It's usually easier if you paint it quick. Me instead off painting it slowly. Okay, So let me show you how I painted this on the Valya. You're going to have a separate video for this flower, but they just wanted to show you the effect so that it's easier for you to understand why we're going to practice the stroke going to paint right here. And I just wanted to separate the pedals here. Okay, it's a bit more over here. Okay, so now it has more definition because of the stroke that we did and just going to absorb the excess paint. Okay, so that's the effect. So when you're pay the expressive florals, it's very important to paint quickly and that we just show you some strokes which are similar to the blue strokes that we did earlier. You can do it quite fast, and I'm going to show you what you can do with these strokes. It also painted in this manner, okay? And then also try to painted in the curve form like this. And this is something that I used for the center off my rose s. So I just press it great here, then just drag and lift. Let's try to paint a simple flower using these strokes. Well, sometimes you can actually just pain thoughts or lines. So let's try to paint if our rules so she can see I'm painting quite fast and we all thes tiny strokes that forms the center off this flower and reds my brush to create nighter petals. So, as you can see, I can paint just simple lines and it can be a PETA. So we will be having, uh, different, um, flower painting for this one. But I just wanted to show you guys what you can do just by combining all of these folks that we have experimented on. So just try to paying Diff'rent Strokes in different angles and try to combine them and paint it into a simple flower. One of my favorites, thanks to create is a simple five petaled flower that's trying to paint one petal first so we can create a petal. Using this stroke, we start at the top and just slowly press and just glide on the paper. And we depressed me brush so that it will police spread and create a broad stroll. And I can feel that end another stroke on the ride and just fill it in. But if I want a more expressive flower, I will do this style, which I'm going to show you. I'm just going to press it all also, so I get this petal shape on the left and just going to go back up. Can we do fluff the other side and just create this crispy lines so that I can create a more expressive PETA? And in this way, it doesn't look as flat compared to this one and Levi's on white spaces. Let's just try to paint a simple flower using this technique. It's paint some petals right here and then painting quickly because you should be, um, the loose floor else. They look really nice when you painted quickly, and it just shows in your strokes, and they also like keeping the brush quite wet so that when I'm painting, I can add some strokes to the petal just to fix the shape. Okay, so let's pretend that you just need three battles for now and I'm going to add justice them a tear. There you go. So when you're painting expressive florals, just make sure that the center is really defined and that you can create some wispy strokes . So I'm going to show you an example. So this is a rose. I just created something that god crescent moon shape over here, and you're just going to pain. Some see strokes and impeding it quite quick. So I can now arrange my brush so that the color will be later and just fade away, some off the strokes on the altar portion and also leaving some white spaces. And I'm holding the brush right here so that I can keep it loose. Now I can just change the angle off my brush. And I'm just going around this bruise. So what? She can see because I have a very defined center. You mean if I keep the other pedals Quite lose Still looks good. It won't look like a blob. There you go. So now that we are done painting the brush, drugs and all the drills must now move on to some of the class projects. 12. Fading Technique: I'm going to introduce to you a technique called the fading Technique, and let's start with a very concentrated mixture off permanent groups. But you can use other colors, and I'm just going to paint a wispy stroke. This is a certain stroke that I also use for painting roses. So I'm just going to rinse my brush and just tap the excess what they're and you're going to lightly touch this part. So I'm going to touch just one side off that stroke. And in order to do the fading technique, the stroke that we did earlier should still be wet. Now we have one side that has a clean edge and another side that has ah, faded. Look, this is actually a technique that I will be using in an intermediate class that I will release soon. But I just wanted you guys to try it as a yes now. So let me do it one more time so you can observe it. So I'm just painting a wispy stroke and let's just rentzer brush and going to lightly touch that edge, and I'm just letting that pain flow into the water. Okay, so we are done 13. Leaves Part 1: in this exercise, we're going to paint some leaves here, the colors that people mix and match. So we're going to use up green indigo, sepia burnt sienna and permanent violet. So we will be mixing these callers later. But for now, let's just use sap green. Okay, so I'm just mixing my sap green on the palate. And for the first leaf, let's paint unordinary leave where you are painted and just one stroke. So let's start with a sense them. So I'm holding the brush lightly that started painting the first leave, and I am just going to start with a life pressure and slowly pressed it. And in drug and lift, let's try it on the other side. But you can also try to turn your paper so that it's easier the pain in this manner. So I'm just going to flat. Then they brush again and just slowly lift and make that and pointy off course. You can always go back to fix the leaf, so I'm just going to paint on top off this them and I usually prefer that my brush has enough paint so that it can freely spread when they press it on the paper. Next up, we can also create the leave with two strokes. So let's start painting the top portion. So I'm painting in like a C curve motion, and then we're going to complete that by painting another See stroke at the bottom. And you can also paint with an s stroke so we can do that two times if you want a leave, that is bigger. So he just paid another s on top of the first s stroke that you made. Okay, So I'm just going back and just fixing the shape. Don't be scared. That's okay if you want to fix the shape. So now let's try to pay the inexpressive leave. So I'm going to paint a fence them and slowly press my brush and do a side stroke and then just drug it and pull it down until you get that tip. It might be a little difficult for a first timer, so let's try it one more time. And I'm just dragging it downwards to create that tail. So a nice try, something a bit more tricky. Let's paint it on the other side using the same strokes. I'm just dragging it and now I just pushed it downwards. So just try to change the angle of your brush. Man painting leaves. You'll be able to create so many shapes that will be unique because you're using your own hand gestures to paint these strokes. So now, as we want to appoint exercise because we're going to pay a leafy wreath that will serve us your practice a swell. 14. Leaves Part 2 Leafy Wreath: instead of painting leaves one by one on the paper. I thought off, putting it in a brief, so that after we finished learning about different types of leaves, you will end up with and very nice leafy wreath that can also be your final painting. You can also put some uhm races or some colts in the middle after you finish. So the start I just drew a round shape. You seeing pencil? So let's just grab some sap green, and I'm just going to paint some stems first. And then let's start painting leaves using two strokes and then right here I am just going to paint in a downward motion in an s shape. Then let's do that in two strokes as well to create a pretty big leaf. So I'm just gonna rinse my brush, and then I'm gonna paint a lighter shade off leave, and then it's just grab some bran zanna and mixed that with our sap green to create that earthy green color. And then we can do some smaller leaves. So right now I am just following the line that I drew a while ago. So we're just going to do one layer off leaves first, and then later on you add more leaves like a second layer of leaves. So I'm just rinsing my brush again so that I can get a new color and I'm getting end ago. I'm going to mix that with sap green, and this will create a deeper shade of green, so analys tried to create some expressive strokes. So lay your brush flat on the surface of the paper and just wiggle and then just drag it until you get a fine point. So ask you drag it through. Also supposed to lift at the end so that you get that pointy tip. So I just added a little bit more indigo to my brush. Let's do some quick strokes, and I am just likely touching the tip off the brush on the paper to create thes strokes. So it's like doing some check marks, and then you can create some thin strokes, a swell and some wispy strokes. So I'm just adding more strokes to make it this fluffy and more lush. So I think we can add a bit off sap green just to change the color and make it look more interesting. we had separate in my brashness, just being some stems. So I'm just going to make me a sap green with a little bit of indigo. And then that's paint some eucalyptus by painting some oval shapes on top off the stem that we painted when painting eucalyptus. I do love changing the shades of green, so sometimes l a rinse my brush to create a lighter shade of green, or I'll add some indigo to make it deeper. Okay, so we're done and I'm going back to my regular sap green, and it's just bait some stamps again. As you can see, I always paint the stem first before the leaf because it kind of gives me an idea off where the leaves should go. So I've makes a bit of indigo again to my sap green, and it's just paint some wispy lines that will serve us this them. And right now I am just painting some smaller leaves by Swiss off stamping my brush on the paper, and I'm just creating thes tiny leaves, so just gently press your brush on the paper. The shape of the brush is helpful in this technique, since the shape is already triangular, and that makes it very easy to just Tom some leaves on the paper. I'm just going to dip my brush in the water jar just to introduce my water and my brush and light in the shade of green, because I want to mix different shades of green in this Reese. Okay, so let's try a different combination. And this time this is sap green, plus a little bit of permanent violet. And now let's try to paint some long and slender leaves. Just drag your brush. And as you can see, I'm not really fully pressing my brush on the paper because I want just slender leaves. So I just let the tip off the brush ban. But I'm not pressing it fully. Let's do another one. And this time I'm using just playing sap green, and I'm going to paint some slender leaves again. So as you paint these long and slender leaves, you can also try to curl some off the leaves. So just make like a wavy stroke just to make it look more interesting. So analys. Try a smaller version off. This land relieves Okay, so started the stem. And this time I'm painting downward strokes that points towards the stem, so I just makes sap green and indigo. Let's try to paint another set off eucalyptus, and this time I painted the oval shapes first before I put the fence them. And sometimes I'd like to experiment in this way, changing the way I paint certain leaves or fillers again. Try to vary the shades of green that you will use. Okay, so you're done that the first layer and nationally you can stop right here if you're happy with this wreath. But if you want to add some extra volume, then just keep on watching. We're going to add the second layer. So let me just start by mixing in Britain, sienna and sap green. Then we're going to paint some leaves that will overlap on the first layer. Just like this. Make sure that the first year it's already dry before you do this technique, and this is called layering. As you can see, the second layer is quite transparent and you can still see the first layer underneath. This is an easy technique that you can apply to even florals, and they had the class on sculpture as well about layering, and then you can vary the shape off the leaves for the second layer so some can be bigger. Some can be smaller, and it looked really, really pretty. When you do that, then you can also add some loose stems sticking out. It can be used as a filler. Let's grab some sap green and paint some markings. So, as you can see, I'm holding the brush at the end off the handle. And now I'm doing some check marks and in keeping it pretty loose by holding it or holding the brush at the end off the handle. Okay, so here comes one of the fun parts. Let's add sums them sticking out, and it just makes the reef look or organic. And again, I also used this as a filler. So if there are some white gaps and you don't know what to add, you can actually just add some stems. Just somethin pervy strokes, and you can also do some twisting with your stroke and create some fun loops like this. So I'm mixing my sap green and burnt sienna to create some more leaves, and right here I'm just painting some small leaves and impeding on top off the first leader . All right, we're actually almost done, and I'm just adding a few more leaves for the second layer. And as you can see, I tried to spread out some off the leaves just to make it look more pilots. And just don't forget to look at the reef from afar just to check if it's already good or if you need to add some more leaves on some side. And that's one off the techniques that they do. Sometimes I take a photo first or video, and then I check it on my phone because it helps me see it from a different perspective. Another way to make this reef look for and with some definition is to add some veins through some off the leaves. Now, don't add veins all off the leaves. You just want to add it to some off the leaves because it will make it look more interesting to your eyes. Okay, okay. So you can look for just some white caps and add an extra leave just to cover it up. And, er done. Congratulations on your defeat. A wreath. I'm very happy with this exercise because we were able to discover different strokes and make the French shapes for the leaves, and at the same time you were able to paint a beautiful wreath that you can definitely use . 15. Delphinium: That's pain a dolphin ume. And they found some really pretty images on Google that I used as my reference photo. So this will be a loose interpretation off the definition flour and let's start with the color Ultra Marine. So I'm just mixing this very rich mixture, and I'm making sure that I'm quoting my entire brush with this color. So we're going to paint to stocks. I'm gonna hold the brush right here and the mental. Let's drag our brush towards the centre off the flower. And now I'm painting downwards, and I'm slowly releasing the brush as I end the stroke so that you can get a pointy tip. And now I just I just rinse my brush so that we can get a lighter color and usually for these types of flowers that are in clusters, I like to mix the shades or the value off the colors so that it would look more interesting . It won't look flat, so we will notice that some off the blues are a bit darker. Some are lighter to make it interesting. I've added just a civilian blue color right over there. So right here we're just going to do three petals and not five because it iss like facing side race. So we're not all the petals. Well, face us, so we won't see the other pedals, and you're just going to slowly fill in this stock so some petals will look like they are just fillers. And right now I am just mixing up some indigo. Yes, adding a few more darker petals. Now let's add some in to go to this ultra marine color that's just paints and fibers the flowers again. And if you notice I always start from the middle off the flower or I end the stroke in the middle. But everything just points towards the middle. Now let's paint a side view flower, so this one will have just three petals. No, it's adds, um, sap green and and just gonna add some petals and also some buds, so I'm leaving in some white spaces. If you have noticed, that's because the top part off the opinion flower has smaller flowers, and most of them are also buds. That's why you will have some white spaces of readers right now. I am just going to connect all of the's buds and just add the stem. So that's now connect them to the flowers. So I have here some sap green and just a tiny bit of indigo to depend a color. So now we can extend this stem all the way down, and I have curved it a little bit. So we had a little bit of a blooper over there. There was a small puddle that fell on the paper. And what I did was that I just got a tissue paper and I just plotted it out. And when this happens to you, make sure that you brought it right away. Don't let it seep through the paper. So right now I have throughly in blue and they added a lot off water to this mixture because I wanted a light color to Julian blue. And now I'm just adding a few more petals just to make some areas Look for there. Okay, so you were done with the first stock and let's move on to the next one. I have here Ah, mixture off ultra marine color again and then painting this five petal flower and you're just going to slow the add more flowers beside it, okay. And Of course, we need to change the shades off the blues in this flowers to make it look more interesting . So just dip your brush and the water jar and top the excess water and then try to paint on the paper and you'll see that now you have a lighter shade of blue. Now, of course, you don't need to really follow all the strokes that I am doing, and this is just a guide for you so that you can eventually create your own strokes and just trying to feel your brush and practice with it a lot so that you can create some really expressive strokes. And as you can see, I'm holding my brush towards the end off the handle to keep it pretty loose. Okay, so now I'm adding, is a bit of indigo through this ultra marine blue just to create a darker shade. And I'm going to continue adding some potatoes and make sure that your brush it's well coated with pain so that it's easier for you to create these expressive strokes because when the brush is dry, it's very hard to move the brush because the bristles will not really fully expand. Okay, so right, I'm adding a few more light colored petals, and in some areas I'm letting it bleed with the other colors. Now it's time to grab some sap green because we're going to paint the buds. So if you are more comfortable with painting the stem first before the pots, you can also do that. And we are just going to paint maybe just five or six buds, and then you're all going to connect it. I'm just going to grab some sap green, and I'm gonna makes a little bit off indigo because they want a deeper shade and you can see that really a rich green color and some petals are still wet. So us I lay down those stem. It's actually bleeding with the blue petals, and that's one of my favorite parts when painting with water color. I just love how it looks when it bled when two colors blend with each other. So right here I have just extended the stock, and I'm painting some leaves at the bottom. So I just grabbed whatever blue color there is on my part it and added just a lot of water to create this nice baby. Blue color. So I'm doing this. Just add fall you and sometimes even add a little bit off sap green so that it looks like a blue green color, and it's very, very pretty. Now I'm going back to the first stock patty painted because I felt like it just needed a little bit more volume. Okay, so I think we are done. But I wanted to add a little bit more character to this flower. Ah, but this is completely optional. And you can totally skip this part if you don't like the splatters. Um, right now I'm just grabbing just some clean water and I'm painting it on the background off this, the fin you flower. As you can see, some off the green buds at the top are feeding away in the background. And I just love that. I think it's really NYSE how it just blends together in the background. And right now I just have some, um sorry. William Blue and I filled up my brush with this color, and now I am just tapping to get those splatters. It makes it just look more expressive in my opinion. And I just love all those faded thoughts on the wet background. If you put splatters on dry paper than it will also dry with hard INGE's. And then let's go back now to painting some teen water on this background. And I'm just going to splatter a little bit more blue on that area, and you can also add a little bit of green, and we can also try to spread it out. If you're not happy, you ate the splatter just to sort of faded out. Okay, so this is the final painting. I just love the splatters in the background, but I understand that some of you might not want that. And of course, this is completely optional. You can up not to do this platters in the background. 16. Dahlia: in this video, we are going to paint a dahlia and I'm going to use this reference photo. I actually took this photo, went and went to Singapore at the flour dough, and you're going to paint this side view with Dahlia? I will thank you with this and the resources section so you can download it were printed. So let's just grab some permanent Cruz and I'm adding water and its mix it with some permanent yellow night because I want a PCI paint color. So I'm just going to put a thought right there. And that is where the pedal strokes will end or begin. So I'm going to start with a top better. And I'm just going to slightly breast my brush and just left the ways the end and just paint some lines. And right there, I just grab some permanent yellow light and it's do one more Peto on the side, and I'm creating petals with pointy tips. So I always start with light pressure and just pressed my brush towards the middle portion off the stroke and just lift it again at the end. Okay, so I'm just going toe paid a small, better right there, and I'm just reading. We brush to create a lighter shade of pink, and I'm going to pay that pedal on the left side and let it bleed ways the colors on the right side. So I'm going to get some permanent yellow night and just makes a little bit off permit grows to make it a little orangey. And you will put this in the middle right there. Just let it bleed with the PATH house. So I want that area to be a little bit more concentrated because that is where the shadow is. So I'm just gonna pick up some peachy pink color and you're going to pay the side Bethel's So this one would look like an Elon Gated letter C. You can try to sway your brush to create this stroke, and you can just strike the flick our brush, create a pointy tip. Let's get some permanent rose until you did. I am great to just follow the shape off the petals and towards the end off the pedal. It does look a little curve on the end like it's curled, and it sort of looks like an s shape as well I love following the sheep off the pedals because it looks so natural when you're painting it. Okay, so I'm just grabbing some permanent rules in a little bit off the orange color that we mix earlier. So I'm just going to flick my brush and sway it back and forth to create some wispy strokes . Okay, so this Aaron looks like it has too much water. So I'm just gonna block out the excess water. You see my brush and I'm going to let me brush. Absorbs the excess pain. We're good to go. Let's continue painting. And I'm just adding more strokes. Those strokes will look like the petals off the dahlia. So the dahlia has a lot off petals. And right now I just got a more concentrated permanent rose. And I am just adding those, um, strokes that are more pigmented. And it looks very nice because there's a contrast and it looks more interesting. Okay, So I'm just dropping in some orangey cooler again in the center to make it a bit darker so we can go back and just fix off the potatoes, and I'm adding some small strokes and those small strokes really make a huge difference when it comes to paint the expression florals, just they just add more detail to your painting. And I thought, I'm Grammy some sap green and that's just paint this them. Let's just drag it in a curved motion so that it doesn't look too stiff. And then let's just add some leaves. Okay, so we're done with the first layer, and you will just let this flower dry and will add more details. So you're just going to add some wispy lines that will give more definition to this Dahlia . I am using a more concentrated, permanent rose, and I also show you this during the brushstroke drills. Aside from a very pigment and permanent rules, you can also use a permanent yellow light color. And this technique just gives this flower more death, and I think it makes it look 100 times Regier. And this is a very easy technique that you can also applied other florals. So, like what I said during the drills, when you're painting the strokes alone, it doesn't really make sense. But when you are applying it on the flower, that's the time when it will make sense. that. That's the reason why you need to practice these strokes, because it's not really easy to create some wispy strokes. It takes a lot of practice to paint, um, a thin and thick portion in just one sweep in just one stroke. So with the wispy lines, some of them were going to leave it as ISS, and some of them were just going to blur or fade one side to keep it a little bit soft. So you want to center to how, like a deeper color, and we are just going to add some Brent Sienna and just spread it a little bit. Then you can add a few more details, some lines in some small strokes, just to add more definition to this Dahlia. Let me just extend the petals at the bottom, all right, and we are done. That was super quick, and I'm really excited to see what you can do with this technique. 17. Class Project: Bright Florals Part 1: and this part of the class, you're going to pay this beautiful floral arrangement. We will paint this with expressive strokes, and I will guide you through painting all the flowers. And this will be a step by step class and everything will be in real time. So I have my people right here. This is the Saunders Water Ford and you're also going to use the black velvet round size six just to assist us in some off the strokes. And I'm just going to grab some permanent yellow light. This watercolor paper is 99 inches in size and then you're going to start in the middle. So I'm just painting some thin and short strokes in the middle. This will be the center off the flower, so I just grab some permanent rose. And I added a lot the father to create a dainty paint color to making a very watery mixture . And it started with that first metal at the top. And I am touching the yellow strokes that he made so that they can blend in with the pedal stroke, so has proceed with a lighter shade. So I just dip my brush in the water jar and tap the excess water to create uneven, lighter shade of pink. So let's keep our strokes very loose, and I am just building the strokes one by one to create that better. Let's grab some bran Sienna. This just makes this Brent Sienna on the palate, and I'm grabbing quite a thick amount off Brent Santa and wanted to be quite bold, and it's painted on top off the yellow strokes that we made. Then that's just put the thought in the center. I love how the burnt Sienna just makes us with the petals, so let's just grabs, um, indigo and then with a drop it in the small thought that we painted. So doing this will provide more contrast to this flower. Let's Syrians our brush to start with a new flower, so let's paint a PCI paint flour, and to achieve that, we need to makes permanent rose and permanent yellow light. And then it's add a lot off water and just till you did, so that you can get a dainty color. So that's one of the secrets through making some peachy pink colors who just mix a pink and a yellow color and just make sure to deal. You did. I'm going to go ahead and start again with the same center. I'm using my black velvet, and I am painting some small strokes using the permanent yellow light. And now I'm grabbing the PCI paint color using my quill brush, and I will just glide on the paper and just create that nice and loose, expressive petal. And then I'm adding some wispy strokes, and I'm doing this very quickly. Don't be afraid and painting the petals. You can start with a small pedal and just build it by adding more strokes to make it baker . When you're practicing your also developing confidence in doing your brushstrokes, which is really important and paint the expressive florals. And this is a very easy flower that you can follow. You just sway your brush and just paint some petals, and it will look like a very, very nice flower. And in order to avoid painting a stiff looking flower, just make sure that you sway your brush when you're painting the pet. Also, that it will look curve rather than just a straight petal. So let's grab our burnt sienna and just drop it in those tiny yellow strokes that we made, and this will add more depth to the flower. So I'm just gonna grab some indigo and put it in the center and just let it spread a little bit just so that it will blend in with the Prince Yanna so we can just try to fix some off the petals using just thin strokes. So in this area you're going to paint a yellow orange blubber. So I have here permanent yellow legs, and I'm going to add just a tiny bit off permanent rose. Just warm up this color. But of course, if you have a different color in mind, feel free to use it. So let's start with a strong downward stroke. As you can see, both ends are pointy, and now I have shifted to holding my brush towards the end off the handle just to keep it quite loose. So let's move on to another pedal, and it's just breast and glide. Just go downwards, and then let's go up again and paint somethin strokes that will make it look expressive. So let me just rinse my brush and grab some permanent grows and add a little bit off that yellow because they want this stroke to be a bit on the orange side. Let's get ready to sway our brush, and you can press our brush for need to create a nice big stroke and then combine it with just some thin, wispy strokes. And I'm going to repeat another broad stroke right there in another one on the left side. So while it's what I can add an orange color to some off the battles just to make it look more interesting. So let's just fix some of the pedals, as you can see, even just painting somethin strokes like that, it makes a lot of difference. So as you may have noticed, we painted this flower using the petals first, Um, and then right now I'm going to add the center. You seeing Brent Sienna. So we're just going to paint some short strokes and just a thought in the center, and I just grab some indigo and put that in the center off this yellow orange flower. I think that adding in the goat in the centre really makes a huge difference. All right, so let's move on to the flower right here, and it looks like a rose. Um, and let's get some crimson. They So let's start with the center and you're going to paint these strokes that will look like a letter you from our perspective. In order to make this flower a successful painting, we need to make sure that the ends off the strokes are pointy. So I am just going to paint a lighter shade off petals on the outer portion, and we can just dip our brush in the water jar just to rinse off some off the excess crimson. They never brush, and I am just going to paint some see strokes and it doesn't look like let three you from our perspective. And I'm just going to go around the flower, and I'm making sure that there are white spaces in between my strokes just to separate those petals. If you know this, I'm just flicking my brush just to create that expressive battle. So you're done with this part, and we are just going to add more details later. When this is already drag, it's Ah, now let's paint the flower over here. Let's grab so permanent yellow light and add ah, bits off permanent rose just to create an orangey color. So I'm gonna be the center first, and it would look like a C stroke that also looks like a crescent moon, and it's paint somethin strokes around them. So let's just try to zoom it and so you can see it better. Okay, so we're done with the center off this rules, and I'm just going to rinse my brush to create a lighter shade off yellow orange. And I will just try to fade some off the strokes in the center and that it planet with the outer petals. So let's add a few more strokes, and thes will be very light because they will be on the outer part off the flower. And now it's grab some bran sienna, and I am just going to paint this in the center, and I will just overlap it on the first layer that we did okay, and and we can just fix this area and just spread it a bit more. All right, you can take a short break and then we'll proceed to Part two off this class project 18. Class Project: Bright Florals Part 2: So let's continue painting and we can add some blue florals over it there, and I'm just going to grab some cerulean blue. So I'm just going to lightly press my brush on the paper to create a petal, and I am going to also grants. My brush took eight, a letter shade off blue, and now let's add a little bit of ultra marine blue. And of course, you can use any blue color that you want or you can even use Third Coy's, and that's all up to you. Okay, so I am just slowly building this flower and then continues t adding some strokes to make some off the petals look picker. And now let's grab some sap green and paint some buds at the top. Now this feels like it needs a little bit more volume. So we were just going to grab some throughly in blue again, and I'm just going to extend some off the petals that we painted earlier. So this is really good, because the petals of repainted earlier are still wet, so it's very easy. If I want to extend it or make it picker, it will blend seamlessly, so I am just mixing up the sap green and indigo just to create a deeper green color. And I will be using this to paint this them to us. You can see the stem is just blending in with the petals that we painted, and you can also add a little bit off leaves on the sides. It's now time to add some leaves in between the flowers. So I just have here my sap green with a tiny bit of indigo. And I just painted this them first before adding the leave. And you can make your leaves quite expressive, just like what he did. So right here I am, just three sides stroke and then putting it down to create a pointy tip. And you can just add some more steps in between the flowers as a filler. Try to observe that whenever you paint leaves in between the flowers, it just gives life to the floral arrangement. These green leaves. It just complements the color of the flowers in this floral arrangements, and to make it look more interesting, you can change the shades of green. So right now I just added some in to go to my sap green again. Okay, so now I am going to shape this flower using leaves. By doing this stroke, I am defining the petal off the yellow and the pink flower. Now you can clearly see the edge off this flower, So let's do this one more time, and now it's up close. So I start by just lining the petal. So I'm growing some Kirby lines using my brush, and after painting those nines, I'm going to form a leaf. And now I'm going to add a lighter shade of green so you can do some side strokes and just try to wiggle your brush to create that leaf shape, and it doesn't have to look perfect. I feel like by wiggling your brush, it will actually look more organic and look more natural. So we can also add some wispy lines that will look like small vines or small stems, and it can be used as a filler. So let's put some more steps over there, so I'm just going to add some permanent yellow light through the sap green because I want a yellow green leaf for a discourse shin, and you're just going to paint some small leaves, so just lightly press your brush to create thes small leaves. And you could also paint on top off this flower. Okay, so now let's add some needs at the top portion. And so when painting this floral arrangements, you just start with the main flowers first, and then you add some leaves and some fillers so we can just paint some stem sticking out. And we can put some small bods right there just to add some fillers so you can be creative . In this portion, you can just tap the tip off your brush to create small thoughts, and that can be a fender. Now it's time for the details on the flowers, so this is a mixture off Permanent grows with a tiny bit off hooker's green, and I am just going to paint some strokes just to separate some off the petals. So you want the strokes to be wispy, and it's just like what we practise in the brush stroke drills. So we want the stroke to have some thin and thick portions, and then we'll just fade away. Just one side off that stroke, leaving the other side with a crisp edge. So we do this by just to be over brush and clean water and just happy the excess water in the brush. And this technique just helps us and giving more definition to the petals. So for this yellow orange flower, I'm just going to mix up some burnt sienna and orange. And you're just going to define the petals again by using these wispy strokes, and they usually do it quite fast. So I'm just going to rinse my brush and topped the excess water out. Okay, so I'm just going to feed one side off this stroke and leave the other side untouched. And that will give me a hard edge on one side and a blur T edge on the other. So for the peachy pink flower on the left side and mixing permanent rose with a little bit off the orange color on my palette. And as you can see, the strokes are not a speck meant. That compared toa the 1st 2 flowers that we did so we can just play around with some wispy strokes is creating some check marks in some places, and I'm also painting quickly to create an expressive stroke and just swaying my brush. I am also fading some off the strokes that I made. So right now I have burnt sienna on my brush and Lucy painting these see strokes and you're just going to define this flower. So right now I'm just going to fade one side off the stroke that we made My brush doesn't have any color at all. It just has water. And I'm leaving one side off the stroke on touch, which means that the tax and ah, hard edge and the other side has a very faded and blurred look. So for the paint rose at the bottom, I am mixing Crimson Lake with just a tiny bit off hooker screen is to create a deeper shade off Crimson Lake. And right now I am just making these wispy strokes in like a C curve. And after I'm gone with the centre, I'm just gonna rinse my brush and I'm going to fade the strokes. And by feeding those strokes, it will actually look like these are petals on the outer side off the rules, so it will look like we're creating some transparent petals. And you're doing this style. Make sure that the first layer is already dry, so you can now see that the flowers have more definition because off the second layer off details that we did. And we can add another layer through this blue flower. And I just have some through in blue again in my brush, and I made sure that the mixture isn't through thick because I still want that transparent layer. Okay, so for some off the flowers, I think we can add a bit more detail. So I have here just burnt Sienna, and I'm just painting this thin lines in the center, and you immediately notice how it just gives more car through through the flowers. So it's all about just making a really defined center, and that will kind of carry the entire look off the flower and make it look more interesting. That's makes screams and lake way the little bit of sap green, and I am just going to paint some leaves, and now this is another tip. When painting floral arrangements, he can add some green bits. In between the flowers. You'll notice that there are still some white caps, so I'm just going to slowly fill them in and you'll immediately notice the big difference when I add those green things in between the flowers, it will look like they're also leaves underneath. And by doing this, the floor arrangement won't look too cramped. Then we are done. I hope that you enjoyed this class project. 19. Expressive Pink Florals Part 1: we have here an artificial flower, and you will be using this as our reference for today. I'm going to teach you how you can translate a referenced into your painting. So first off, it's paint this big flower in the middle. As you can see, it's sort off has a cooperates there you have petals bending down from this area, So let's start with the cup first, and then you're going to pay the petals below that cup through start. We need to grab some permanent rose, and I'm just going to mix it here in my palette, and I'm showing it to you up close so that you can see them mixture clearly. So I do want a thick mixture, but not too thick that I won't be able to paint loosely. So we need to just coat our brush with this paint. All right, so now I am just going to put a thought just to serve as a guide. But you can also use a pencil if you want. All right, so let's start with the first petal, and I'm going to slowly press my brush and just ended with a curve, and I'm going to also fix the shape. And then let's try to paint another one right beside it, and the first petal is also touching the second petal. Then now we're gonna go with the 3rd 1 and I'm going to make this a little bit fuller, and then we're going to add some small strokes beside it. So you're just going to flog that area? And it's just a term that I coined. It just means if we're going to add a lot of small strokes and that will kind of 4% the smaller petals sloughing also gives more volume to a flower. So now let's try to close this gap in the middle. So I'm just going to paint some see strokes, and I've just rinse my brush so that the color and my brush will be lighter. Okay, so this just out of humor strokes and I'm just going to rinse me brush again, and this petal, I think we need to make it a little bit bigger, so I'm just going to add a few more strokes to make it bigger. You can always make the petals bigger. I usually like starting with a smaller petal, so that eventually I can make it bigger, and they won't over do a flower. Okay, I think we need to add a few more strokes in the middle, and then we can start the way the petals on the side. And this is just a tip and the ram painting some petals. I usually put some strokes like that just as a guide instead of beating one big stroke so that it's not that overwhelming. Okay, so let's just lightly press our brush and it's built this PETA. If it doesn't look good right now, don't worry. We can always fix it afterwards. Okay, so here we can create ah, side stroke. And he urges, sweet our brush until we can create a full Petr. All right, so we can add some check mark strokes and they get wispy. Yes, you can see the ends off. The strokes are pointy, and I'm just fixing the top area and filling in some gaps. So if you notice, I just keep on adding I usually start with some sort of a skeleton first before we add more pet us. So I'm just like them may experiment. Rose and Hooker's green. I am going to paint a shadow, so we just need, like, a deeper shade off permanent rose. Okay, so I feet, That's a good color. I'm just going to drop it right there where the petals are coming from and that this one off the darker areas in this flower So we can try to fix some areas if it doesn't look good as long as it is still wet. So I just grab some permanent rose, and I'm going to put it in the edges off the better just to separate some off the petals. Okay, so it looks a little bit messy, so I'm just gonna resonate, brush and blot the excess water. And I am just going to fix some areas in this flower. I'm letting my brush absorb some off the excess paint on this flower so we can go back to fix them off the areas again. Let's move on to the second flower over here, and I have permanent rose on my brush. Let's paints, um, see curves and then going to paint one on the left, another one on the right, and one more at the top. And I just painted some wispy strokes below that. And right here I just rinse my brush. And I just extended the 1st 2 strokes that I made so that it will become a bigger better. And we're just going to close the gap at the top by painting. Some see strokes. So as you can see, it's a combination of different strokes and really quick, wispy strokes to create an expressive floral. And the best part is that we all have our own unique ways off interpreting a flower, and I'm pretty sure that you can also create your own version off this flower. So I'm just dropping in a darker shade off permanent rose. It's the same mixture that we made earlier. All right, so you're done with the first of flowers and let's now move on to Part two. 20. Expressive Pink Floral Part 2: So you're done with the 1st 2 flowers and near down to the last one right here. At this point, you can put this them, but I'm going to finish first the last hour. So I have permanent rose and my brush, and I will just press my brush to create a petal. And I'm going to fluff that area. Add somethin strokes and also paying some on the top. And then let's try to close this one up and they want to put some finishing touches, some small strokes, and this will look like a but that is about to bloom. We can no grab some sap green. I'm just going to make this and we can add a little bit off indigo for a deeper shade of green. I'm going to put the stem right here, and as you can see, I'm painting it slowly and I'm not really painting just one straight line. I'm breaking up my strokes just to make it look a bit more natural. I'm also beating it environ use pressure so that I get thin and thick lines. Okay, so let's attach another one to the second flower. I personally like painting this them a little bit grew kid, because it just feels more natural. And let's add this them to this last flower again. I'm just beating it in short strokes. Let's make this time a little bit thicker. I'm gonna grab some indigo, and this is one of my favorite techniques. I'm just going to drop in some indigo on the stem, and I'm doing this. Wildest time is still wet so that it will just blend in with the sap green color. This one just eights, um, a shadow, and it makes the stem look more natural. Let's make sap green and in to go again. So I'm just going to paint some Stam's some expressive ones. So just dragging my brush and letting just the tip touch the paper. So now we're ready to paint the leaves. I'm going to paint this downwards and just left to create that pointy tip. Let's be another one in a different direction, and I am just making the tips pointy so that it looks quite expressive. It's been another one from bottom to the left, so when you're painting that, think off it as painting a hill, but in varying pressure, we can paint some leaves in two strokes like this, and you can also change the shade off the green. So I just rinse my brush to create a lighter green color that's makes up green and indigo again. And I'm going to be another expressive leaf. The trick is to paint it fast so that you can get those curves. So let's add some more fillers just painting some lines and then you can add some leaves and right here impressing my brush on the paper, the creative full leaf as impressing the brush. I'm also trying toe wiggle it to create those curves, and don't forget to end with a pointy tip. And if you've noticed, I keep changing the anger off my brush so that I can create some unique leaves. That's odd. Some fillers terms, and right now I'm using a lighter shade of green. All right, so let's proceed to adding more details to the flowers, so I just grab some permanent grows and I'm going to add is a tiny bit off hooker screen. So as you can see, the color change immediately and became a little bit deeper, so I'm just going to paint some strokes in the middle. I'm almost following the same strokes that they did on the first layer. So we are just going to create some wispy light and some see strokes, making sure that all the ends off the strokes are pointy. I'm also creating a separation off petals just to make it look more defined. And now I'm going to rinse my brush, and it's time to fade some off the strokes. So we're just fading to define the petals so that it's not too harsh when you look at it. I'm just blurting one side and take note that the first layer was already dry before we put the details in the second layer. So let's do this again in the second flower. I'm just going to paint a deeper shade of permanent rules and then painting some see strokes and that will look like the ruffles and the center of the flower. I'm going to fade this stroke because it looks too harsh. All right, so that looks good for the small. But I'm just going to put in just a few strokes. At this point, we're already done, but I just wanted to show you how you can add more kind of 30 you're painting, but this is completely optional, so we can skip this part if you don't want to do this, I'm just going to grab some clean water and then going to paid in the background off this painting. So I'm just painting outside the flower, and in some areas the flower might bleed into the wet background and that's okay. It will actually look nice. Here's the fun part. I'm going to pick up some permanent rules and just slather it all over the background. And because the background is wet, it will sort off fade away. But you can still see the dot. If you splatter on dry paper, it will dry up with harder edges and it will look more defiant. And you can also use your brush to spread some off the splatters that you were not happy with. So right here got a more pigmented permanent rules and them doing more splatters, and I'm just tapping my brush. When you're doing this technique, make sure to also cover your table because you don't want some splatters on your table. He just want the splatters to go into your painting, so I'm just spreading some off the color and I'm adding more splatters and this is completely up to you. If you want to add a lot of splatter or few what you want, just a few. I'm just grabbing some permanent violet and I'm going to add that to my background. Just have fun with those platters. You can add different colors that you like right here, and add the A more concentrated than color so that it will look like the bud is just fading away. Okay, so we are done. And don't forget the sign on your painting. 21. Bonus Video Flowers in a Vase: welcome to the bonus video. And in this video, you're going to paint a vase, wade some expressive florals. So I've already drawn the shape off the vase using a pencil. And of course, you can paint a different shape for the face right now. I'm just grab me something water, and I'm painting on the inside off the face. That's grab some cerulean blue. And I am just going to drop this on the inside off the face. So I'm going to start with the outline of the vase. So the race is still where the source you can see As soon as we dropped in the paint, it just bleeds out, and it has soft inches. So I'm just gonna rinse my brush and I'm going to take out the excess water, and I will just try to blend in the cerulean blue on the inside off the face. So I'd like to add some sap green because I love how it just makes us with the cerulean blue. So I'm just spreading the colors and I don't really have that much water in the brush. I don't want to add any more water on this wet surface So I'm gonna grab some clean water, and I'm going to just spread it in some spots, and it would just be random. I'm going to paint some flowers over there and the reason why I am doing this randomness because I want some of the flowers to have soft edges and want some tohave, um, clean and sharp. And Jess, I'm going to show you what I'm gonna do. So this grab permit, Violet and it start painting the flowers, so I'm just going to sort off stamp the brush. So as he can see, some areas have touched the wet part that we painted a while ago and you can see that it has bled out. So it's kind of blooming, and it's very soft, but some parts off the flower are, um, quite sharp, and it's not really that soft looking. So I wanted to mix those two textures for this flower, so I just rinse my brush and I'm just going to add some more petals. But I wanted a lighter shade off permanent violet. So right here and adding more better does and kind off stamping and trying to sway my brush to create more expressive petals and also wanted to create different shapes. So let's start mixing sap green and indigo. I'm going to paint those very thin stems, and as you can see, I am painting in like broken strokes. So now that's been some leaves, and I'm pulling the brush stores Thean off the handle just to keep it really lose. And I'm painting quite fast. This one was painted in real time, and that's my tip when you want to paint something quite expressive, though, that very quickly paid very fast. Okay, so if added leather shades off green, let's just grab some more sap green and we to paint the leaf right there, and it's just extended them. I am painting some broken strokes, and we can paint some expressive leaves. So this just paint, um, a long stem, and then we'll add some more leaves. So I've just rinse paintbrush to create ah, lighter shade of green to that superior with, um, bit of Indio. So I wanted dark Leaf right there, and I am just gliding my brush and doing the side stroke and just pulling it down so that I can create Ah, pointy tip. Now I have sap. Green is my brush and going to do a side stroke again. Okay. Think I can just paint one more leave over there and then they rinse my barrage and going to paint some water on the face to keep it wet again. I'm going to grab some sap green, and I will just paint the stance right there. So we have the illusion that this race is a glass and you can see this them inside. And neither is my brush again. And I'm gonna dab the excess what they're and you're just going to clean some off the stems and that they caught some off the area. Stat doesn't look that nice. So this is just servant do with a little bit of indigo, and I am going to pain the outline off this face, and then I'm gonna insta brush and take out the excess water, and I will just try to soften Thean just right there. So that's just grab more pigmented permanent Violet. And you're going to paint more details on this violet flower. I'm just slightly in ex temping the brush and also trying to sway the brush. Great. Some marks. You can also try to just flick the brush to create, um, or expressive stroke. So right here, I think we can add some more flowers. So you're just like creating the illusion that these strokes are flowers and they just look very expressive. So I'm gonna grab some sap green and a little bit of indigo, and it's just paint on top off some off the leaves that we painted a while ago. I just want some of the least to have, ah, deeper shade, and then you can also put some veins on some off the leaves. So I just tried to spread out the leaves with veins so that it looks just more violence and doesn't look too crowded. So let's just grab some indigo and I'm going to paint a stroke underneath the base. Then that Syrians, our brush and I will just create a shadow will try to feed the stroke that we made. I will touch the bottom and let it lead into the clear water, so make sure that they're using clean water so we can also drop in some cerulean blue, and you can just spread this. I usually like adding the color of the flower onto the shadow just so it looks more hormone use. You can also put some green spots right there to create the illusion that maybe some off the leaves have fallen. All right, we are done. I hope that you enjoyed this bonus video, and I'm excited to see your version off this vase. 22. Final Thoughts: e. So this is the end off the class, and I know that this is quite a long glass. So thank you so much for watching. I hope that you've learned a lot today. So in my opinion, using a good brush really makes a difference in shaping flowers, especially the loose and expressing one's because we're not really sketching the flower. So we're not just fitting in the color, you're actually painting strokes and forming them in to a flower, so it's really important to use a good brush that can follow your hand gestures. And if you're not ready to buy a quill brush, you can use your own brush. Um, I suggest you saying the black velvet brand because it's quite close to a quill brush. In my opinion, you can also buy some artificial flowers like this so that you can use it. Ask your reference and just paint the flowers in your own way. And, of course, don't forget to practice. And every time you practice, you are once that closer to your goal. So don't forget to follow me on scale share so that you will be notified every time we have a new class. And also don't forget to upload your class project in the project gallery off this glass. And if we're going to upload it on Instagram, you can use this hash like right here so that I can see your pain things. And if you have any questions, you can also message me on Instagram and I would be happy to help you out. So that's it. Thank you again and to you in my next class.